Since their emergence in 2011, Exeter based rockers I DIVIDE have steadily proven themselves as genuine contenders for success in an admittedly heaving UK music scene. Releasing “What’s Worth More” that same year, it was clear from the start that this 5-piece wasn't doing anything by halves; proving they were already capable of churning out top tunes, but fast forward a couple of years and we find ourselves listening to a much more confident and comfortable band. With the release of “Last One Standing”, let’s see how well they can back-up this self-assured title… Kicking things off with “Follow Me”, it’s already clear the production quality has improved, everything sounding that bit more polished. Tom Kavanagh’s vocals coarse, yet melodic, giving the song an edgier feel, despite its core sound owing to the heavier side of pop-rock. It’s a good start, before “Tell Me Something” bursts in almost immediately. It’s a much bolder number from the word go, with a real hook to it and further highlights the bands new found confidence. Newest single; “I'm Not Leaving” is brilliantly conflicted, in the sense that it still manages to sound huge, whilst maintaining a somewhat subdued feel. It’s a passionate performance all round and delivers a massive sing-along chorus; the softer moments allowing Kavanagh’s vocals to shine through, over some subtle yet enticing guitar playing from Henry Selly and Josh Wreford, great stuff. “Cold At The Bottom” and “Run Away”, continue to take advantage of utilising pop melodies in amongst the more rough around the edges feel of the bands playing, with the former even throwing in a sleek, albeit very brief guitar solo, until the album closes on “Look At Me Now”, a refined yet melodramatic piece that draws you in with its emotional feel, focussing more on the bands tender side, and its works really well. I Divide may lack in experience, having only been around for a handful of years, but they pay their dues on the road and on the live stage, and rightfully deserve your attention for the song writers they are. Can they keep it up though? With the industry they are in being so cut throat these days, with so many artists being disposable, it’ll be hard work to say the least, but with “Last One Standing”, they've made a solid statement that they are in this for the long haul, so it’ll be interesting to see how they develop for record number three. [7] Download: “I'm Not Leaving”, “Look At Me Now”"Last One Standing" is available on iTunes: https://itunes.apple.com/gb/album/last-one-standing/id816417026

Concept albums…these are officially the “Marmite” of the music world; you either love them or hate them. Granted, sometimes they can work really well, just look at “American Idiot” by GREENDAY, other times, they can come across as a little self-indulgent. It takes a confident band to commit to releasing a concept album, or at least an already accomplished band that can afford the gamble, you don’t however normally come across and unsigned band throwing themselves into such an idea for only their second EP. That is what South Wales youngsters CLEAR THE AUDITORIUM have done with their newest release, “The Final Broadcast”. Set in a post-apocalyptic future, have CTA made it out alive, or have they fallen victim to their own nuclear fallout? Opening up with “Prologue”, a crackling, poor quality mock-up BBC radio message, harking back to the days of World War 2, warning of an impending nuclear war, time has been taken to ensure it sounds legitimate, drawing you into the EP, wanting to follow the story. First song proper “If We Burn” was chosen as the leading track of the EP, backed with a great music video, it’s about grouping together, surviving against the odds and against those in power. It’s got a great chorus, something CTA have mastered already it would seem, and it’s full of pleasant cross-over rock/electronica. “Vacant Streets” is full of rich synthesisers and layered, light dub-infused beats, some brilliant soft vocals from front-man Dafydd Richards. It’s almost a pop song really, had it not been for the inclusion of rough vocals too, but it’s definitely an EP highlight. “Ozymandias” is one for the history buffs, named after Ramesses II, the great Egyptian Pharaoh, it’s symbolic in its message that basically one day, even the greatest leaders will fall, there will ultimately be change and there is nothing you can do about it. Nothing lasts forever and in this case, in this post-war landscape, the survivors will reclaim what belongs to them, their homes, and their lives; an interesting means of linking the subject matter, but the sign of a sharp mind when it comes to song writing. Clear The Auditorium maybe virtually unknown outside the south Wales scene, and that’s not intended as a derogatory remark, this young unsigned band obviously have a passion for their craft and aren't afraid to step up creatively. As concepts go, OK, it may be a somewhat clichéd idea, used many times in films as well as music, but it hasn't stopped them delivering a quality EP. If they keep this level of writing up, they are bound to make an impact over the course of the next year. Let’s just hope this isn't their actual final broadcast… [7]The EP, released May 8th, is available for pre-order, just follow this link: http://cleartheauditorium.bigcartel.com/product/the-final-broadcast-audio-cd-pre-order

Back in 2001, four guys from Utah decided to break the mould, it was time to shake things up a bit, and, after a lot of disinterest from a variety of labels, and a lot of patience, THE USED managed to release their début self-titled album through REPRISE RECORDS. With songs such as “Maybe Memories” and “A Box Full Of Sharp Objects”, The Used became one of the hottest new bands on not just the scene, but any scene. Their penchant for combining great rock melodies with raw punk intensity separated them from the then mainstream nu metal machine that had reached its peak, and were breaking away from the pack, garnering a loyal cult following. That following grew with follow up album “In Love And Death” and the huge singles including “Take It Away” and, over the course of time, Bert McCracken and co became one of the key bands of the emerging post-hard core/alternative scene. 2014 see’s the Orem based four-piece release the new album “Imaginary Enemy”. “All revolutions are impossible until they happen; then they become inevitable”…this is what greets us as we press play for track one, “Revolution”. It’s an anti-political burst of energy with killer hooks and a great sing-along chorus, some of the catchiest material the band has released and it’s a bright, promising start. Lead single “Cry” delves further into the pop-infused melodic approach, allowing for a really accessible track that’s sure to go down well as a crowd pleaser at live shows. “Generation Throwaway” is, despite its title, really quite the soft number. It’s got a huge sounding pop-anthem style, gang vocal chorus that catches you off-guard, after having expected a brash, unapologetic punk rock statement. “Make Believe” is a bit livelier but again, it’s lacking bite. A catchy song, that’s undeniable, but that’s as far as it goes. The same can be said for the title track and, well, the album as a whole in all honesty. Whereas it’s not unheard of for The Used to utilise melody to great effect in their song writing, it’s unusual for them to produce such a unilaterally fashioned album. There are a lot of great songs on “Imaginary Enemy”, it’s an entertaining listen with some top tunes, but it just seems, innocuous. It’s probably their most accessible album to date, bar the odd pocket of mild aggression, which some long-time fans may deem disappointing, but, in a scene drowning in metalcore, it does I guess provide a more than welcome alternative. The Used have allowed the lyrical content in their songs to provide food for thought while making a really commercially friendly album. It’s clear they've stopped to take note of what’s happening around them, and they've delivered an album not only relevant in terms of topic, but they've done it stylishly too. It stands out, and on this rare occasion, for a band like The Used to make a pop album is exactly what we needed. I guess the imaginary enemy is the mainstream itself…fans of rock and metal universally see mainstream culture as plastic, with no depth or ingenuity other than for making fast money, The Used have released a record full of radio friendly tracks not to “sell out” per Se, but because they’re smart. The mainstream is only the enemy if you want it to be, you can just as easily use it to your advantage…”Force Without Violence” and all that…[8]

Sex, drugs and rock ‘n’ roll. It’s more than just a slogan, an image associated with rock and metal, for some, it literally is a way of life, and no one lives by this code more unequivocally than California’s STEEL PANTHER…especially the parts involving sex. Having been around since the early 2000’s going by several different identities before settling on their current name, the four-piece, (consisting of vocalist Michael Starr, guitarist Satchel, bassist Lexxi Foxx and drummer Stix Zadinia) are essentially the ultimate parody band. With a love for over-the-top, comical sexual references and a tongue-in-cheek sense of nostalgia, Steel Panther take inspiration from the likes of MOTLEY CRUE, throw in some of the most ridiculous lyrics you will probably ever hear, and go out of their way to have a good time all of the time. With previous albums “Feel The Steel” and “Balls Out” gaining them not only success but notoriety, 2014 see’s the release of record number three; “All You Can Eat”. Let’s get stuck in. Track one, “Pussywhipped” starts off with some unusually soft Spanish guitar, which is unexpected to say the least, but it soon livens up with Stix and Satchel tearing into some classic sounding metal guitar licks and pounding drums, while Starr gives his own quirky take on the subject matter lyrically. Generally though, the long intro doesn't really add anything to the song and really just sounds out of place, and the song itself isn't one of Panther’s best, a mediocre introduction to the new album. “Party Like Tomorrow Is The End Of The World” is the albums lead single, and pretty much speaks for itself. It’s basically an excuse to let your hair down and do whatever the hell you want, have as much sex as you physically can (even including animals, if you’re into that sort of thing), get stupidly drunk, rob a bank, steal a plane…whatever you can think of. The idea behind the song had potential to be highly amusing, but it feels a bit slow and doesn't really inspire much partying to be honest. “Bukkake Tears” has a gentle vibe about it, some slick guitar work but a generally mellow song, you can’t help but laugh at lines such as “there was so much love on your face, I couldn't see the tears…”, basically a song about a couple inviting some extra players into the bedroom, but with the girl in question ultimately regretting the decision. A great porn ballad, if such a thing even exists…before “Gangbang At The Old Folks Home” equally intrigues and terrifies at the same time. “The place was packed with wrinkly boobies and dicks, the youngest one there was maybe 76”…lovely…just lovely. “Fucking My Heart In The Ass” and “B.V.S.” are just as absurd as the other, with that free-flowing classic rock sound the band have come to excel at driving the songs forward, the latter especially so, an album highlight, before we finish up on the cringe worthy “She’s On The Rag”. It’s probably on par with the old folk’s home in terms of its lyrical content, it’s up to you if that’s a good thing or not. Basically then, if you’re already a fan of Steel Panther, it’s a bit of a given that you’ll probably enjoy this third album without question, the band have retained all the elements of their first two records that made them popular and delivered another dose of quality rock, aided by their own brand of crude comedy song writing. As musicians it’s clear they know their stuff and write some great pieces, but, as a gimmick, there is only so much toilet humour you can recycle before it loses its immature appeal and stops being funny. There are one or two signs of that happening already, with the new album taking a while to get going. It’s worth a listen but it’s not their best. [6]"All You Can Eat" is available on iTunes: https://itunes.apple.com/gb/album/all-you-can-eat-bonus-track/id795081205

For twenty years now, Italy’s LACUNA COIL have been at the fore-front of the female fronted gothic inspired metal scene, but unlike bands such as WITHIN TEMPTATION and NIGHTWISH, who have always been mentioned under the same breath, the Milan based band have always maintained a slightly edgier, heavier and distinctive element to their sound. With the melodious vocal tones of Christina Scabbia, backed with the coarse crunching vocals of Andrea Ferro, coupled with an increasingly heavier musical approach, Lacuna Coil have gone from strength to strength in recent years. 2014 see’s the band release the brand new album “Broken Crown Halo”, an appropriate title given the departure of guitarist Christiano Migliore and drummer Christiano Mozzati. Does this new album signal a band that’s peaked, or is it merely the end of an era for one of rock’s most iconic and recognisable bands? Opening track “Nothing Stands In Our Way” is a bullet pointed statement if ever there was one. It’s clear that LC have accepted that things are changing within the band, but it hasn’t stopped them delivering this pounding introduction to the new album. It’s got the classic sound the band is renowned for, but everything’s been down tuned giving it an almost nu-metal feel. If you can see past the minimalistic yet effective synthesisers and just focus on the bass and guitars, it could just as well be a KORN track…and that’s not a bad thing, a strong start. “Hostage To The Light” is a far more relaxed effort, Scabbia flexing her voice over some powerful notes during the chorus but it’s not overwhelming, it’s quite a passive song, a good listen, allowing your mind to wander but not completely holding your concentration to make it a stand-out track. “Victims” has more of a classic feel to it, harking back to a “Comalies” era sound but it slots well into the album, more of a trip down memory lane as oppose to recycling old material / styles. The intro to “I Forgive (But I Won’t Forget Your Name)” worryingly reminds me of “Jesus Walks” by LOSTPROPHETS listening closely, but soon, and thankfully so, the track ventures off into more familiar territory. Ferro given the opportunity to sing as oppose to utilise his heavy vocals, he’s got a good voice and compliments Scabbia either way, and it’s a pleasant listen. “Infection” and “I Burn In You” keep the album ticking along nicely, before we reach the closing track, “One Cold Day”. It’s a slow, sombre start. Deep strings, low, dreary piano keys, before Scabbia softly steps in with some smooth but somehow disconsolate sounding vocals. The track has a feeling of closure and it’s the perfect way to end the album. Lacuna Coil might be losing two long term members, but the final contributions given by both Migliore and Mozzati hav ensured “Broken Crown Halo” is anything but a reason to mourn. Whereas this new album, the bands seventh in total, might not contain hits such as “Trip The Darkness”, “Our Truth” or “Heavens A Lie”, it’s a solid effort from start to finish and deserves as much appreciation as any of the bands back catalogue. It might be broken but who cares when it’s this good? [8]

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Gavin J Griffiths, a.k.a GavTheGothicChav, lover of new music and supporter of bands. Inspired by a mixture of horror and comedy, and fueled by a blend of alcohol and sarcasm...if you're singer / in a band and would like a review written up, please do get in touch via the email address at the top of the page and I'll get back to you ASAP. Much love x